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A cinematic late starter, English filmmaker Joanna Hogg has been known for her clinically cool skewerings of the upper classes and the bourgeoisie. But then, in 2019, she dropped The Souvenir - a deeply personal, semi-autobiographical account of her own artistic development and trials as a twenty-something film student. Resplendent and eerie, she’s now followed it up with The Souvenir part II - a kaleidoscopic and formally invigorating portrait of the artist as a young graduate. Here, we catch our thoughts on both films, fresh from viewing, before being briefly visited by friend of the pod Lucy Bull. But were we Hogg-tied or Hogg-pilled? Have a listen and find out.

Elaine May's 'Mikey and Nicky' stars John Cassavetes and Peter Falk as old cronies bickering, and on the run. Cassevetes film 'Husbands' made around the same time, stars Cassavetes himself, Falk again, and Ben Gazarra as a pack of middle class dad bods wearing themselves out with aimless adventures in New York and London. That as maybe today's podcast is about Ralph and Owen: two dirtbag film podcasters with jobs in the creative industry, repressing their feelings, indulging in toxic displays of bravado and generally just not doing the work. And let's be honest, no self-respecting Muub Tube listener would want it any other way.

A spectre is haunting central London, the spectre of five ebullient young men podcasting outside a pub on a warm night - the occasion is Olaf Nicolai’s Marx, a 24 hour film shown at the ICA this week, which consists entirely of one continuous closely-framed shot of a Karl Marx statue in Chemnitz, Germany. Owen and Ralph are joined by Daniel Neofetou, Matthew Turner and on the phone from Munich, George MacBeth.

Nine years have elapsed since the last salvo sprung from the mind of the layabout Leos Carax (remember, he was the director of 2012’s unkempt Holy Motors). Now, Carax brings us Anette. And it's a musical - a sort of sloppy and often sublime mess of a thing that seems as indebted to Bo Burnham as it is Fellini (apes of god, uncanny mannequins, the lot). But is Anette good enough, or does it go out with a whimper? This week, the boys brought their mics along for a post-screening pub chat in order to figure it all out.

Owen takes a long, hard look at Sátántangó - the seven hour magnum opus of Hungarian montage-hater Béla Tarr.

Ralph shares some immediate, close-mic reflections on Alain Resnais’s 1963 film Muriel, or the Time of a Return - a whirlwind of desire and deception, full of deft cuts and lost love.

German cinema would be much impoverished without the unique filmmaker and cultural wrangler Alexander Kluge. The boys are joined by George MacBeth to revel in Kluge's most ambitious works, those that oscillate wildly between multiple fictional and documentary forms; including Artists Under the Big Top: Perplexed, The Power of Emotion, Germany in Autumn and Yesterday Girl 

Ralph defends Terence Malick's star-studded late career odyssey of luxury and ennui with a spirited late-night monologue.

Owen keeps the show on the road, reflecting on two recent cinema outings, Godzilla and First Cow.

This week, the boys take their first podcast plunge into Bergman’s extensive oeuvre. The subject? Autumn Sonata of 1978. An explosively charged chamber piece that does open heart surgery on a tricky mother-daughter relationship. There’s baggage, there's close-ups, and there’s a lot barely concealed angst. Is this Bergman at his “most” Bergman? Probably. But is it his best?